About

A booking
platform for
rangatahi who
perform.

2,200+Rangatahi paid since 2018
400+Gigs run
$1.4MPaid to artists
14Regions across the motu

Our story

The first paid
gig changes
everything.

Rangatahi on Stage started in 2018 with a simple observation: emerging rangatahi performers were doing the same gigs as their established peers (open mics, council activations, school events), but they weren’t being paid. The pipeline from bedroom artist to working artist was friends-of-friends, and friends-of-friends is a narrow door.

We built ROS to widen that door. We watch artists live before we put them on the roster. We chase the briefs (councils, festivals, brands) and match the work to the artist. We standardise rates above the industry minimum. We pay within seven days of the gig, every time.

“A trusted bridge between clients and rangatahi talent.

We’re a programme of Youth Arts NZ, the registered charity that makes the wraparound possible. YANZ provides the professional guarantee, the pastoral support, the safeguarding for our under-18s, and the funding backbone that keeps ROS free for the artist forever.

What we stand for

Five things we won’t
compromise on.

01 / PAY

Artists are paid. Always.

Standardised rates above industry minimum. Paid within 7 days. No “exposure” gigs, no race-to-the-bottom quotes, no pay-to-play.

02 / VET

Every artist seen live.

We don’t list anyone we haven’t watched perform. Sometimes that means a long drive to a small open mic. Worth it.

03 / SAFE

Pastoral wraparound is real.

YANZ safeguarding for under-18s. Pre-gig nerves, gear borrows, transport, a kōrero after a tough night. We don’t ghost.

04 / EQUITY

Lineups reflect the motu.

We track who we book and where. Our equity dashboard is reviewed regularly. Quiet voices get the same airtime as loud ones.

05 / FREE

Free for the artist. Forever.

No membership fee, no commission off the artist’s pay. Clients pay a flat coordination fee that funds the platform. That’s it.

Parent → programme

A programme of Youth Arts NZ.

YANZ is the charitable trust that founded and funds Rangatahi on Stage. ROS is the forward-facing service: the platform, the brand, the team rangatahi and clients talk to. Same kaupapa, different surface.

YANZ owns

Governance, funding relationships, charitable status, the safeguarding framework. The parent on legal and policy.

ROS owns

The booking platform, artist relationships, client work, day-to-day operations. The forward-facing service.

The team

Small team.
Big roster.

Two people run ROS day-to-day, backed by the broader Youth Arts NZ team: programming, finance, safeguarding, comms. The third spot is open: it could be you.

Chloe Bettina

Chloe Bettina

Director of Creative Impact

Runs the booking console. Watches more open mics than is healthy. Your one point of contact, every time.

Harrison Sugrue

Harrison Sugrue

CEO

Holds the kaupapa. Talks to councils, funders, and the YANZ board. Backs the team to do the work the way it should be done.

YOU?Join the team

Your name here.

Performer · Crew · Both

Get on our radar. Performers, sound techs, photographers, stage hands. We’re always building the bench. Sign up →

Eight years on

From open mic to open door.

'18

YANZ Open Mic at Newtown.

Three rangatahi, a back room, $200 from the kete. The first gig that became Rangatahi on Stage.

'20

First council contract.

Auckland Council Summer in the Square. 14 artists, four weekends, $42K through the platform.

'22

Roster passes 100 artists.

The booking console (the predecessor of today’s platform) replaces a shared spreadsheet. Sleep returns.

'24

$1M paid to artists.

Cumulative threshold. Now sitting at $1.4M and tracking to $2M by end of 2026.

'26

Platform v2 launches.

SMS-first artist surface, client portal, day-of mobile console for Chloe. This site you’re on right now.

Talk to us

Got a question?
Pick a door.

We’re a small team, but we read everything. Pick the channel that fits and we’ll come back inside two working days.

@

General & bookings

[email protected]

Chloe Bettina, Director of Creative Impact